by John Greco
I’m singin in the rain
just singin in the rain
What a glorious feeling
I’m happy again
I’m laughing at clouds
So dark up above
The sun’s in my heart
And I’m ready for love
Is there anything more exuberant than watching Gene Kelly singin’ and dancin’ in the rain? Generally considered one of, if not, the grandest of all musicals, and whom am I to argue, “Singin’ in the Rain” is a joyous delight, celebrating movies, music, dance and the talent of a cast and creators who rarely were better. Critics over the years have been in agreement, from Pauline Kael who called it “the most enjoyable of musicals” to David Kehr, who said it is “one of the shining glories of the American musical’ to Roger Ebert who wrote, “There is no movie musical more fun as ‘Singin’ in the Rain,’ and few that remain as fresh over the years.” Even New York Times curmudgeon Bosley Crowthers wrote at the time of the film’s release, “Guaranteed to put you in a buttercup mood.” And let’s face it, if a film can put old sourpuss Crowthers in a “buttercup mood” that my friends, is one hell of a movie! (1)
Surprisingly the film, while it met with good reviews, was not considered the instant classic, top of the heap, musical it would be judged in later years. Sure, it was a hit financially but overshadowed in accolades by Kelly’s previous film, Vincent Minnelli’s “An American in Paris,” released only five months earlier and destined to win Best Picture of the Year for 1951.(2) The Kelly/Donen film’s only Academy Award nominations were for Best Actress in a Supporting Role for Jean Hagen and Best Musical Score for a Musical Picture (Lennie Hayton). This was the year of DeMille’s “The Greatest Show on Earth,” generally considered the worst film to ever win Best Picture. Other nominees that year included Fred Zinnemann’s “High Noon,” thought to be the early favorite, John Huston’s “Moulin Rouge,” John Ford’s “The Quiet Man” and the mediocre “Ivanhoe.” Hard to believe no one thought the joyous MGM musical was worthy of a spot on the Best Picture nominee list that year.
The film is set in Hollywood. It’s 1927 and the arrival of a feared new technology…talkies! Don Lockwood (Gene Kelly) and Lina Lamont (Jean Hagen) are two of the biggest silent screen stars in the world, beloved by all. But the silent’s are dead, the public has heard the future and it has a voice. Unfortunately, Lina Lamont does not. Their first sound film together is a flop, both stars are laughed off the screen, Don Lockwood for his overly dramatic reading and Lina for a high pitched screechy mouse of a voice. The studio wants to savage the picture but millions are stake, so hey, why not turn it into a musical.
And what music it is! Arthur Freed, then head of his own unit at MGM and his former songwriting partner Nacio Herb Brown were popular songwriters back in their earlier days with many of their songs populating early musicals of the 1930’s. Freed, now a big time producer at MGM, wanted to incorporate some of his and his partners old songs into a new movie, and collect some royalties in the process. The title he decided would be “Singin’ in the Rain,” a song that appeared on the screen for the first time in the early musical, “Hollywood Review of 1929,” whose cast included Jack Benny, Joan Crawford, Laurel and Hardy among many others. Over the years it became the most popular song in their catalog. When Freed hired Betty Condom and Adolph Green to write the screenplay, he told them, “here’s the title and some songs, you guys come up with a story.”
That’s just what they did, but not before some missteps did they settle on the idea of setting the film at the dawn of the sound era. Realizing the songs evoked the mood and sound of the jazz period of the 1920’s they wisely selected to set the film in that period. The two lead characters would be Don Lockwood and Lina Lamont, movie stars, admired around the world with the naive public, who devoured fan magazine stories, assuming that the screen’s most romantic couple were just that way not only on screen but in real life too, as did Lina who read those same magazines!
Gene Kelly, who was at the top of his career at this point, along with his directing partner, Stanley Donen were brought in. They began researching the period the film was set in by watching films like “Platinum Blonde.” The Kelly/Donen team was responsible for the pioneering 1949 classic musical, “On the Town.” Kelly himself had just finished filming “An American in Paris.” Added to the cast as Kelly’s right hand man, Cosmo Brown, was fellow hoofer Donald O’Conner, temporarily rescued from his “Francis the Talking Mule” pictures. The third part of the starring trio was a young nineteen year talent by the name of Debbie Reynolds who was fit as a fiddle and ready to become a star. Reynolds was not a natural dancer but she was a hard worker, and Kelly worked her harder than she ever been worked before, up to ten hours a day of practice with Kelly’s assistants, Carol Haney and Jeanne Coyne. And the results show on the screen. Just take a look at the “All I Do Is Dream of You” number, she may not be up to the level of Kelly and O’Connor but she is a sparkling delight from the moment she jumps out of that cake.
The movie’s most memorable scene, and while there are plenty to choose from, has to be the title song number with Kelly and his umbrella singin’ and sloshin’ in the rain. It’s a sing-a-long moment if there ever was one, one of cinema’s finest examples of art and entertainment merging together in perfect synchrony. To quote the title song, “it a glorious feeling” and from beginning to end it is one of the most memorable sequences ever put on celluloid.
The song “Singin’ in the Rain” has been used many times over the years in other films including “Speak Easily” (1932) performed by Jimmy Durante, “Little Nellie Kelly” (1940) sung by Judy Garland and Stanley Kubrick’s violent futuristic classic, “A Clockwork Orange” as well as the previously mentioned “Hollywood Review of 1929” where it was performed multiple times in the film by various cast members including The Brox Sisters and Cliff Edwards.
Other numbers shine too. Donald O’Connor’s solo highlight, “Make em’ Laugh” is an energetic ride filled with funny moments, and one of two new numbers written for the movie (“Moses Supposes” was the other). Freed and Brown pretty much plagiarized the tune from Cole Porter’s “Be a Clown” written for the 1948 MGM musical, “The Pirate” which happened to also star Gene Kelly. (3) Add to this, great numbers such as “All I Do Is Dream OF You,” “You Are My Lucky Star,” “Good Morning, Good Morning,” “Fit as a Fiddle” and of course the title song and you have one of the grandest most magnificent soundtracks of all time.
The film is also a gentle satire of the early days of Hollywood and movie making. We have Lina Lamont, not remembering to speak directly into a microphone hidden in a flower. She is constantly turning her head away from the mike, her voice fading in and out of its limited range. This type of situation is well documented with many such incidents during the early days of the talkies. Don Lockwood was a character loosely based on silent film star John Gilbert whose career collapsed with the advent of sound. In the film within a film, “The Dueling Cavalier,” the Lockwood character uses lines Gilbert spoke in “His Glorious Night” (1929) where his exaggerated reading of dialogue to his co-star, Catherine Dale Owen included the lines, “I love you, I love you, I love you” which was followed by howls of laughter from the audience for both Gilbert’s performance and for the fictional Lockwood. June Allyson, always the young naive sweet kid was the basis for Debbie Reynolds innocent Kathy Selden. Gene Kelly stated that Reynolds was such an innocent herself at this point in her career; she was perfect for the role. Other gentle stabs include the character of Dora Bailey (Madge Blake) who was modeled on a young Louella Parsons.
It’s needless to point out but the three leads are all at the top of their game. Gene Kelly was at the pinnacle of his career, O’Connor never had a better role to show off his talent, and Debbie Reynolds became a star in her own right. Jean Hagen had her greatest role and is a real treat as the scratchy high pitched witch Lina, richly deserving her Oscar nomination. Her character, or at least her character’s voice, is reminiscent of Judy Holliday’s Billie Dawn in “Born Yesterday.” One major difference is Billie wanted to improve herself while Lina is too vain and selfish, just wanting to use people for her own benefit. Screen writers Condom and Green based Lina Lamont on a combination of 1920’s screen star Mae Murray, whose career was silenced by the talkies, and Holiday’s Billie Dawn. Hagen was perfect for the role, she had even played Billie Dawn in a road production of the Broadway play. Also in the cast are Millard Fillmore, Cyd Charrise and a very young Rita Moreno.
If the film has a flaw, it is the “Broadway Ballet” that stops the lively vigorous energy of the rest of the film. After recently watching “On the Town” and “An American in Paris” it became evident that either choreographer Gene Kelly or MGM’s musical unit had a thing for inserting these ballet sequences into their films with varying degrees of success. Here, it stops the film cold. It is not that the sequence is bad, it is very good however, it does seem to muddle the pacing compared to the rest of the film.
“Singin’ in the Rain” was the Easter presentation at Radio City Music Hall in New York in 1952 where it had its world premiere on March 27th of that year. The Hollywood premiere was a couple of weeks later, April 9th, at the Egyptian Theater. A few weeks after, the film opened in general release. In a poll taken at the time that followed audience reaction, more than 85 percent of the audience considered the film very good or excellent. Donald O’Connor edged out Gene Kelly as giving the most enjoyable performance. Debbie Reynolds finished a distance third.
“Singin’ in the Rain” is one of my three favorite musicals, the others being “West Side Story,” and “Gold Diggers of 1933” The film sparkles with energy, radiates with marvelous songs and shines with superb dance turning those dark clouds up above into a shiny glorious sensation.
Footnotes:
1) Crowther’s review was not a full rave. He seemed to misunderstand, and complained about the title song not having anything to do with the rest of the movie. He states “Singin’ in the Rain,” has no more to do with its story than it has to do with performing dogs. Of all things, this song-and-dance contrivance is an impudent, offhand comedy about the outlandish making of movies back in the sheik-and-flapper days when they were bridging- the perilous chasm from silent to talking films. And its plot, if that’s what you’d call it, concerns a silent film star who is linked with a slut-voiced leading lady while wooing a thrushy new young thing.” (I assume Crowther’s use of the word “thrushy” to describe Debbie Reynolds character was meant to be as a small songbird and not as a fungal infection as labeled in the dictionary.) Crowther misses the entire mood of the Freed/Brown songs which invoke the flapper era and the beginning of the sound in film. There is a musical mood or tone to all the songs, a 1920’s Jazz age feel that is in synch with the storyline and smoothly makes the connection.
(2) “An American in Paris” received much critical acclaim when released and won the Best Picture Oscar of the year in 1951 over Elia Kazan’s screen version of Tennessee William’ s “A Streetcar Named Desire,” and George Steven’s “A Place in the Sun.” That same year Gene Kelly won an honorary Academy Award for his achievement in Choreography .
(3) Cole Porter never sued though he had a very good case to do so. From what I have read he felt beholden to Arthur Freed who helped him during a low point in his career.
How Singin in the Rain made the ‘Elite 70’:
Allan Fish’s No. 1 choice
Dennis Polifroni’s No. 1 choice
Pat Perry’s No. 1 choice
Marilyn Ferdinand’s No. 1 choice
Greg Ferrara’s No. 3 choice
Sam Juliano’s No. 4 choice
Judy Geater’s No. 6 choice
What a project this was and what an honor to be included. I wasn’t sure what new could be written about Singin’ in the Rain but John was up to the task. Thank you for including me in this, it was great fun and a wonderful meeting of cinematic minds.
Thank you Greg for the king words and I agree with you, this was an honor to have been included and Sam it has been fun and a learning experience, at least for me. You did an amazing job!
It was great to have you aboard Greg, and I concur with everything you say here!
I have to disagree with you John on the BROADWAY BALLET.
For me, it’s the show stopper of show stoppers in musicals. Starting with the joyous tap dancing, then segueing to the sexy dual dance between Charisse’s gun moll and then wafting slowly into the ballet sequence (Charisse again), it’s a moment that blows me away every time I see the film. The scoring of the sequence is a beautifully blended mix of showtune like music, jazz and light classical style. The color design and set creations are reminiscent of Al Hirschfeld and Walt Disney (who Kelly was a big admirer of) and the costuming in the number helps exagerate the dreamlike quality of the whole thing. The electricity that’s on display with not one, but over one hundred extras all bobbing and tapping in unison add the the frenetic energy of the number. The sexiness of Charisse as the gun moll in what was probably a violation of the moral codes in movies in 1952 (her dress exposes far more leg than I can ever recall from a film of this period) oozes dirty, gritty sensuality and this is all blanced by the lush romanticism of Charisse in the the windswept ballet finale.
It’s a number that I often skip straight to whenever I put the DVD in the player for a quick fix of something that can instantly make me smile.
The moment Charisse leaps into the arms of Kelly in the bar-room sequence can make me jump straight out of my chair.
Dennis,
I thought my criticism of this would cause a comment or two. I will try to explain. In looking at the film as a whole, I just felt the inclusion of this sequence did not fit in well with the rest of it. On its own, the BROADWAY BALLET is fantastic and everything you say, extremely sensual, and leggy Cyd Charisse is erotically hot. The music is stimulating, the dance is exquisite, but still it just nagged at me when I thought of the film as a whole piece. It seemed to change the pace which bothered me. If I were the filmmakers, I would have made the hard decision to delete it, as good as it is. I can understand your affection for it however, that is the way it affected me. As I mentioned somewhere before, this film is one of my top three favorite musicals.
But, that’s the whole point… It’s a joke…
The entire sequence comes in as Don says to R.F. “here’s my idea” and then you get twenty minutes of this balletn that really looks and feels like nothing in SINGIN IN THE RAIN and then Don says “so whatya think?” and R.F. replies “I can’t quite see it in my head….
It’s a throwaway gag to explain the inclusionof something that should not be there but is anyway… That’s part of the beauty of SINGIN… It’s a kitchen sink musical…
i get that Dennis, and as good as the sequence is, I still think it changes the pace of the film.
John, a typically thorough and beautifully written post. The only thing I would take exception to is your your criticism of the “Broadway Rhythm Ballet,” which I think of as the “Gotta Dance” number. It may be almost a stand-alone musical number, but for me it is the centerpiece of the film. Anyway, I left an overall comment about both posts under Dennis’s review. I’ve enjoyed all the many fine reviews you contributed to the countdown. As someone who struggled to write one post that satisfied me, I’m in awe of the amount of high-quality writing you did for the countdown.
Thanks R.D. – I expect to received some flak on the BROADWAY RHYTHM BALLET. I attempted to explain my position under Dennis’ comment. Maybe it’s just me. While you write one post, your comments on many of the films in the countdown have been some of the most eloquent put down here and there have been many.
I see what you are saying in regards to this sequence John. I like it myself, but appreciate your intricate disclaimer.
Thanks R.D. – I expect to received some flak on the BROADWAY RHYTHM BALLET. I attempted to explain my position under Dennis’ comment. Maybe it’s just me. While you write one post, your comments on many of the films in the countdown have been some of the most eloquent put down here and there have been many.
…and, by the way…
of the five films that WERE nominated for BEST PICTURE in 1952, the one that probably should have won was THE QUIET MAN…
Still, no match for SINGIN’ IN THE RAIN…
THE QUIET MAN?
Oh God, no. HIGH NOON should have won for sure!
Well, considering that John Ford took home the Oscar for Director for THE QUIET MAN it seems that the second choice for PICTURE after THE GREATEST SHOW ON EARTH WAS the QUIET MAN…
Ha! I prefer myself to cite that the New York Film Critics Circle cited HIGH NOON as Best Picture of that year. The Oscars just had a thing for Ford, as they awarded him four times. I don’t think they ever seriously entertained the possibility of going with THE QUIET MAN. But I could be wrong too.
Hogh Noon for me as well.
Interesting. And I’d prefer “The Quiet Man”.
High Noon is my favorite Western of them all, so I would have to cast a vote for it.
For me the best film of 1952 would be De Sica’s ‘Umberto D’
But for American films it’s ‘High Noon’
You are cheating there Peter! lol. I would also have Umberto D tops if we consider everything.
I love both High Noon and The Quiet Man. I don’t know if I could pick a winner between them, but maybe TQM by a nose.
Ha Marilyn! Fair enough! I know both films are considered major classics, and are revered by so many.
I just wish someone out there would clean up THE QUIET MAN and release it on Blu-Ray in a form that didn’t look like a massive dog turd. I haven’t seen a clean print of this film, like, EVER…
The old laserdisc displayed purple horses as I recall. It needs a restoration as much as it needs HD.
I owned that laserdisc too. What an abomination!
I saw The Quiet Man on TV not long ago and the picture quality looked ok as far as I remember, maybe a bit orangey but not outrageously so. I’m not a huge fan of it though – High Noon all the way for me. But both are definitely a lot better than The Greatest Show on Earth!
High Noon for me, definitely. My favorite western. That said, The Quiet Man is excellent.
But yes, if Singin’ in the Rain had been nominated, I would have given it the Oscar in a heartbeat, even as good as High Noon is. Both of them are on my favorite movies ever list, but I know which one’s on top!
I’ll take High Noon as well. The Quiet Man… ehh never mind. The Ford groupies are always lurking in places like these lol. Better to stay out of the line of fire and hide in some comfortable noir shadows. In fact I’ll go with On Dangerous Ground as the best English language film of 52. That Ray would of got my Oscar vote…
Maurizio, I must say that it escaped me that ON DANGEROUS GROUND wwas a 1952 film. I wasn’t thinking here, focusing just on the nominees. I might also go with it for that year!
John,
Wonderful essay from you capturing all the essential elements. I do enjoy your writing as I’ve always said. I agree with you about the “Singin in the Rain” sequence. It’s one of the classic celluloid moments hands down. My kids can’t get enough of watching that scene on YouTube! Every night after their bath, they want to watch that!
Of course your slight critique of the ballet sequence I can understand from your perspective. I disagree, but it should be noted that Gene Kelly was enamored with The Red Shoes, which contains the greatest ballet sequence ever put on film, and is in its own right, a damn good musical, but I’ve had that argument already on a different day!
Wonderful stuff John.
Jon,
Thanks very much and as I said I do expect disagreement on the ballet sequence but that’s okay. In and on its own it is a magnifcent piece. Martin Scorsese’s love of THE RED SHOES drove me to watch this a couple of years ago and it is one of the most fantastic films about art i have ever seen.
Here’s my list!
1. The Sound of Music (1965)
2. Singin’ in the Rain (1952)
3. The Wizard of Oz (1939)
4. Swing Time (1936)
5. Cabaret (1972)
6. A Star is Born (1954)
7. A Hard Day’s Night (1964)
8. Meet Me in St. Louis (1944)
9. 42nd Street (1933)
10. The Umbrellas of Cherbourg (1964)
11. An American in Paris (1951)
12. West Side Story (1961)
13. Moulin Rouge! (2001)
14. Mary Poppins (1964)
15. Beauty and the Beast (1991)
16. Funny Girl (1967)
17. On the Town (1949)
18. The Rocky Horror Picture Show (1975)
19. Fiddler on the Roof (1971)
20. Gold Diggers of 1933 (1933)
21. Easter Parade (1948)
22. The Music Man (1962)
23. The Band Wagon (1953)
24. Top Hat (1935)
25. Seven Brides for Seven Brothers (1954)
26. Yellow Submarine (1968)
27. Once (2006)
28. Oliver! (1968)
29. Dancer in the Dark (2000)
30. Funny Face (1957)
31. The Red Shoes (1949)
32. Fantasia (1940)
33. Yankee Doodle Dandy (1942)
34. The Smiling Lieutenant (1931)
35. Kiss Me Kate (1953)
36. The Little Mermaid (1989)
37. Footlight Parade (1933)
38. Coal Miner’s Daughter (1980)
39. Oklahoma! (1955)
40. Annie (1982)
41. My Fair Lady (1964)
42. The Blue Angel (1930)
43. Amadeus (1984)
44. White Christmas (1954)
45. Pinocchio (1940)
46. Grease (1978)
47. Cabin in the Sky (1943)
48. Snow White and the Seven Dwarfs (1937)
49. Willy Wonka and the Chocolate Factory (1971)
50. Lili (1953)
John –
Your essay is a perfect summation of the film’s history and charms. I’m not sure what a “buttercup mood” actually is, but I certainly can’t stop smiling when I’m watching “Singin’ in the Rain”! If that sounds corny, so be it – few other movies, musicals or otherwise, are so much fun.
Jon–
Great to see you stayed the course with THE SOUND OF MUSIC! But all in all a magnificent list that would have been accepted in a heartbeat for this project!
Haha Sam! Of course! But, my list wasn’t nearly as robust 3, 4 months ago. I had some catching up to do and have done quite a bit of that now.
As Sam knows, West Side Story is tops with me. I need to put together a complete list.
This will be a difficult assignment, but I have all the reference I need with what has gone on at this site the past few months.
Jon, I’d add here that MOULIN ROUGE! is a film that apparently got lost in the shuffle as far as the balloting went for this project. All things considered I find that surprising.
If I were to cast a ballot, ‘Moulin Rouge’ would place in the top ten.
Yeah I’m disappointed it didn’t place at all on this countdown. It was a great send-up. A unique film the way it used well-known songs.
I’ll be the dissenter here – MOULIN ROUGE wouldn’t get within ten miles of my list – it gave me a pounding headache. NOT a Baz Luhrman fan.
Pat yes I know Moulin Rouge divides people. Not surprised. This is the same with Rocky Horror which I thought desrved some recognition, but ……
I guess I fall between Pat and Jon on the film overall. Luhrmann’s best film is STRICTLY BALLROOM, methinks.
I was surprised Preminger’s Porgy and Bess didn’t make the cut.
Frank, I had it on my ballot – I think Marilyn did too, but not enough votes were cast for it.
John – You’ve put me in a buttercup mood with this fine review of my No. 1 musical on the countdown. I don’t think there is a more tightly made musical, and I’m afraid I have to chime in on the chorus that thinks the ballet is of a piece with the work, even correct for the period in which live prologues were often found in film showings (see Footlight Parade). I love all the critical detail you bring to your review and the real-life inspirations for many of the situations and characters. My hat’s off to you, sir, for a terrific essay to end the countdown. It has been a fascinating and very enjoyable ride with you and the rest of our countdown colleagues.
Marilyn,
I appreciate your kind words, and your thoughts on the ballet sequence are certainly in the majority and fair enough.
Thanks very much, and the countdown has been as you describe “a very enjoyable ride.”
oops – put this in the wrong place initially:
John –
Your essay is a perfect summation of the film’s history and charms. I’m not sure what a “buttercup mood” actually is, but I certainly can’t stop smiling when I’m watching “Singin’ in the Rain”! If that sounds corny, so be it – few other movies, musicals or otherwise, are so much fun.
I am glad you are smiling Pat. That smlle may be part of being in a “buttercup mood” though Mr. Crowther would have to define it exactly. Of course, he is no longer with us. Thanks very much!
John, I must say I never found Mr. Crowther as a particularly enlightening, even competent critic. The irony is that he wrote for the New York Times.
And for almost thirty years no less!
John, I enjoyed, among many very interesting details, your information about the origin of the song, “Singin’ in the Rain.” I was struck by how seemingly incidental the situation of excitement about the “new” was, for the filmmakers. It’s that matter that makes, for me, perfect sense of the “Broadway Ballet.”
Thanks very much for presenting such a fresh conundrum about such a familiar classic.
thanks Jim. Glad you enjoyed it. It was pleasure writing this one.
“The movie’s most memorable scene, and while there are plenty to choose from, has to be the title song number with Kelly and his umbrella singin’ and sloshin’ in the rain. It’s a sing-a-long moment if there ever was one, one of cinema’s finest examples of art and entertainment merging together in perfect synchrony. To quote the title song, “it a glorious feeling” and from beginning to end it is one of the most memorable sequences ever put on celluloid.”
Indeed John, and it is the sequence that will eternally be remembered. It is arguably the most exhilarating moment in the history of the cinema, and it has rightly elevated the film to its present iconic status. This is one of those scenes that can be and in fact has been dissected to the very last drop of rain that Kelly splashes up in his indelible meeting with film immortality. You have gtiven this musical masterpiece the full works here John, and have imparted your pwn passions on the subjects with your usual authority and a seamless blend of artistic analysis, historical underpinnings and anecdotes. I did myself always find it more than curious that the film took a number of years to be seen as the masterpiece it is now universally regarded as, and that it was seen running behind AN AMERICAN IN PARIS. Your work for this countdown has been extraordinary and prolific, and it was a real treat to have your input as a writer. On the comment threads you were marvelous as well, and you are to be counted as a true friend.
Thanks Sam. It has been a real blast doing this though admittedly after I committed to doing seven I wondered if I could get it done in time. I actually plunged in and had most of them written in a rough draft fairly early on and then went back to refine them as much as I could.
It has happened so many times where a film is not recognized for the masterpiece it is at first and takes years and maybe fresh eyes to expose how great the work really is. Thanks again Sam for all you have done for this countdown.
I thought for sure The Great Ziegfeld was going to take it.
Seriously, this is a supremely logical and justified choice – it speaks volumes how the outlier among the voters was a #6 – everyone had it in their top 10 at least and a remarkable number had it at #1.
Very enjoyable read, John, and I was impressed by the attention to fact & history not only in this piece but throughout the musical countdown – it seems that musical fans have an excellent head for context. I feel I learned a lot about the genre just from reading the different entries.
One thing that struck me here – I didn’t know Hagen had played in Born Yesterday on Broadway. Certainly puts an interesting twist on her being cast opposite Holliday in Adam’s Rib, doesn’t it?
Ah yes, ‘The Great Ziegfeld.’ It did have the memorable ‘phone’ scene though.
It did, but it’s worthless overall.
To be honest I hated that phone scene as much as the rest of the film. So – forgive the expression – phony.
Thank Joel, appreciate it.
I think you either may have misread or I wasn’t clear, Hagen was not on Broadway in BORN YESTERDAY, she was in a road show production. For Holliday it was of course a star making role on Broadway. She was later in the run replaced by Jan Sterling and still later by Jean Parker.
I see, nonetheless that they both played the roles does add an interesting twist to Adam’s Rib, I think…
Albeit not as much as if one had replaced or won out over the other for a screen role of course.
Many apply the words ‘timeless’, ‘classic’ and ‘immortal’ to the films that like best, especially if they have some backing from their friends and peers. This film is all three, and it seems a popular choice to top just about every musical countdown out there. John has peeled away the gauze to present a complete package of the film’s incubation and artistry. A terrific piece that concludes this great venture in high style.
Congratulations to all who have made the past months so enriching and entertaining. I’m thrilled to say I was a part of it.
Thank Frank and i agree congratulations to all who have this countdown such a great venture.
Ditto what Frank said. I’ve enjoyed the countdown immensely, and am sad to see it end. The final essay like many that came before it is exceptional. John’s love for the film speaks for many of us.
Thanks very much Frederick!
I’ve only looked on a few times during the countdown, but I always saw great writing. I thank John Greco for this trip down Memory Lane with a film that’s impossible not to love.
Ricky, thanks for stopping by during the countdown on more than one occasion. Your views were always much appreciated.
Ricky, glad you stopped by and thanks very much.
I join in the chorus to commend all who have made this musical countdown such a resounding success. Sam did a great join coordinating and writing some of the venture’s very best essays. Other great writers like John Greco have outdone themselves with work that will stand into the future for further reference.
Both John and Dennis have served this film as well as could be asked or expected. I will miss it all.
Peter,
This has truly been a great succes with many, many fine essays and at the center of it all is Sam who efforts to get this done was nothing short of a major. I’m happy to have been able to participate and top off this countdown in conjunction with Dennis’ excellent post. I am honored.
By now one is tempted to call Singin’ overrated simply because it is so universally regarded as greatest of musicals and so often placed on short lists of all-time greatest films of all sorts — and because it isn’t my favorite musical. But it has one of the strongest storylines of any musical and that movie-movie vibe and all that energy from the three principals and Cyd Charisse’s definitive screen appearance and so on. Strange to say, I always end up feeling sorry for Lina because I imagine her ending up sleeping on park benches a la poor Mae Murray. I also imagine that “The Dancing Cavalier” would still be an awful film — I’d be more interested in seeing that pirate musical they’re making in the 1946 Edith Piaf movie L’Etoile Sans Lumiere, which beat the Freed gang to the punch on the early-musical subject. So Singin’ may be doubly unoriginal, on top of its oldies songlist, which might make you question its worthiness for the top spot, except that performance often trumps all else and is transcendent in this case. The Broadway thing is self-indulgent — it’s Kelly’s megalomania again — but musicals accommodate such indulgence easier than other genres and we wouldn’t have Charisse in the picture otherwise. So it wouldn’t be my choice but I’m not going to kick over it.
Samuel, I’ve often felt a bit sorry for Lina too. In 2008, I reviewed the film and this was my speculation: “Yet even with the happy ending, we’re left wondering: what ever happened to Lina Lamont? In one scene, her contractual manipulations show us that she’s not as dumb as she seems. Perhaps she gave up acting and became an independent producer – maybe she was one of those figures who, twenty years later, would crack open the studio system and shattered the power of the big bosses like R.F. Simpson, paving the way for industry-wide disillusionment and movies like…well, Singin’ in the Rain. But then again, her denial may be too immense for that leap. Perhaps she fell through the cracks, retreating into her hidden mansion, marrying ruined movie director Roscoe Dexter, and falling deeper into her delusions until one day a young screenwriter’s car breaks down nearby…”
Samuel,
You may feel sorry for Lina but she is clearly not a nice person. The others dislike her because she is obnoxious and clearly is only out for herself. She’s also delusional and that may be reason enough to have some sympathy for her but her willingness to step on others to get what she wants kind of negates any sympathy, at least for me.
John, I agree on the movie’s own terms, and I never root for Lina — I simply imagine a terrible fate in store for her on the model of some suffered in real life that no one necessarily deserved. In real life, too, I imagine a lot of Linas ended up having voices and winning no matter what they deserved. No reflection on this movie, just an impulse I have.
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Thanks to all of you for all the hard work during this countdown. It was a great project we all participated in and I think it was a great success. Bravo to everyone who championed, wrote comments, wrote essays, did sidebar work etc. Sam, you were the great ringleader from the beginning. My hats off to you, especially. Cheers friend.
That’s a superb review commemorating a truly outstanding & an immensely enjoyable movie. I’ve sort of been expecting Singin’ in the Rain to be crowned No.1. The scene where Gene Kelly tap dances in utter abandon in the rain to Frank Sinatra’s mellifluous voice was reason enough to call this a great musical – such superb choreography has rarely been achieved in cinema.
And with this we’ve reached the end of yet another mammoth & memorable project at WitD. Congratulations are surely in order. I know all those integrally involved with this project must be in need of some breather now. But well, I can’t wait for the next one to kick-off!!! 🙂
ummmm…
Kelly danced to his own voice. Not Sinatra’s…
Oh, sorry for the faux pas!!!
Thanks so much Shubhajut!
I couldn’t agree more John, a truly joyous movie. Excellent review.
Rohan,
Thanks for stopping by and the good word, appreciate it!
A great piece, John, with a lot of fascinating information on this film. The most famous scene with Kelly is just as wonderful as you say. I’m quite surprised to hear that this wasn’t a smash hit right away, as it has been so celebrated since. Also interested to hear the background about the amazing similarities between ‘Be a Clown’ and ‘Make ‘Em Laugh’, as I’d often wondered about this – I don’t really like The Pirate as a whole, but love that particular song. Anyway, getting back to Singin’ in the Rain, it isn’t one of my very top personal favourites, to be honest, but I still had to recognise its brilliance and put it in my top ten!
All the satire about microphones being hidden in lights and flower baskets is absolutely spot on in a lot of early talkies, and it is often difficult to hear higher-pitched voices – when you watch Cagney’s very first film, ‘Sinners’ Holiday’, I can hardly understand a word he says in some scenes (admittedly I’ve only seen a bad print of it, but I could understand everyone else) as he talks incredibly fast in a high, breathy voice.! I do feel sorry for Lina because of her industry dying, as Samuel and Joel said above, though I take your point about her not being a very sympathetic character. Anyway, great stuff! It has been a lot of fun being involved in the countdown and thanks to all involved in making it a success.
Thanks Judy, – I remember seeing SINNER’S HOLIDAY and the sound is awful at times. The MAKE ‘EM LAUGH and BE A CLOWN similarities are more like one is an exact copy, a rubber stamp of the other, they are sooooo close!
PS… it’s ironic that Debbie Reynolds had her singing voice dubbed in this movie! Here is a link to a clip where her own singing voice has been restored – it sounds pretty good to me, I must say.
Yep. This is the greatest musical ever. You’re absolutely right that it’s the kind of movie that induces unstoppable grinning–it’s not only one of the great musicals, but one of the great comedies, as well. Firmly ensconced in my all-time Top Ten (both Favorites and Greatest lists).
Have to disagree with one thing, though–The Broadway Melody might be the best thing in the whole movie! Who cares about the plot? Several other songs do nothing to advance the plot at all–The Beautiful Girl Montage and Beautiful Girl itself, Moses Supposes. But the Broadway Musical is spectacular in every way, and absolutely worth it to halt the rest of the movie, however thin its connection to the story. The one song I think could have been improved is You Were Meant For Me, which is important to the plot and beautifully staged, but somehow always just a little boring, while everything else before and after is incredibly snappy, funny, and alive.
Stephen, the humor in this film is top notch and it is just one of the things that put it a notch above the rest. As for the BROADWAY MELODY BALLET, well you are not alone in your feelings and I respect everyones thoughts on it. Thanks!
Yesterdays overtime at WITD was grueling and hard work before I finally exited the building…. So I’ll keep it simple. Nice job with this essay John.
Haha! 😉 Yes that was a long day!
Maurizio,
Thanks, appreciate it!
Great essay, John, a well-told story. Just please go back (and with WordPress, it’s easy) and make one correction: the co-writer of the screenplay was Betty *Comden*. I wonder how many times the poor woman had to correct people herself…
Truly a great film! The musical numbers are flawlessly integrated into the story. However, the script was by Betty COMDEN and Adolph Green. You know, you should have someone proofread these things, strictly as a prophylactic measure.
I love that movie . gene Kelly is my dance idle along with fed astir